FROM BAHR TO DEHMEL 121 only his fellow-men but inanimate nature: the mist that folds him on the heath - his 'dear brother'; the starveling pines in the heather- blue Prussian sand - his 'comrades'. He grieves for the decay of all he loves, grieves even for the decay of grief, and knows that he is one of a hard new race that makes a cool reckoning with exis- tence. He is not an easy poet: the meaning of his verse1 is often embedded under a crust of far-fetched imagery. He has regional consistency in his depiction of North German landscapes: skies ever grey brood over plains where the hard wind, a grey minstrel, strikes his grey music from bone-white beeches. This impression- istic rareness of imagery gives a mannered effect to his prose2; but he is one of those who have renewed the Novelle by the infusion of personality. 1 Wanderschaft (1911); Die heimliche Stadt (1921); Der langste Tag (1926); Pansmusik (1929; second edition of Gedichte, 1916); Atem der Erde (1930); DerSilberdisteIwald(i9$ti;Der Waldder Welt (1936); Die Abschiedsband(iw<j). 2 Short stories: Vineia (1907); Das Goldbergwerk (1919); Der Chimarenniter (1919); Der Prin% undder Tiger (1920). Novels: Der Turmbau (1910); Der Qger (1921). Essays: Zeitgenossen aus viehn Zeiten (1929).